Switching to Adobe Premiere Pro-A 4-part switcher series

More and more Final Cut editors are using Adobe Premiere Pro CS5 to make them more efficient. If you’re wondering if Adobe Premiere Pro is really worth the switch, check out the four-part web series (replay links are listed below) featuring Final Cut editors and how and why they use Adobe Premiere Pro CS5. You’ll learn the real story on Adobe Premiere Pro’s Mercury Playback Engine, what it means to edit DSLR footage natively, and how you can remove bottlenecks in your pipeline when working with Adobe After Effects and Photoshop. To follow up the series, check out the Q&A session to see if your burning questions were answered.

Don’t forget to check out the resources we have for Final Cut and Avid editors here making the switch to Adobe Premiere Pro. We have also created a 7-part video series that answer a ton of questions. Check it out on AdobeTV. For information on hardware support, we have a special site just for that purpose and even have benchmarking data to give you the real scoop on Mercury. Finally, for all things revolving around HDSLR video editing, Adobe has created a site that is full of free video tutorials and tips & tricks.

One giga-reasons why your workflow will change

I’ve once heard someone quip that Google is like a kid with a trust fund and no focus. It’s hard to argue with that interpretation. But yesterday, Google struck a chord with me when they announced an ambitious pilot program to provide 1 Gb per second connections to end customers in select communities. I sure hope my neighborhood in Seattle is one of them.

Technology Sneek Peek: Adobe® Mercury Playback Engine

Lets start with the big, bold, brash, brazen, big-time, blow-your-mind (are there any other ‘big’ adjectives I’ve missed?) statement about the Adobe® Mercury Playback Engine: It is a game changer.

Haven’t heard about the Mercury Playback engine yet?  Good - Read on!

Let’s start with the back-story or history on the Adobe Mercury Playback engine.  Back at IBC in September, the show happened in Amsterdam and while Adobe was there talking about several things including Adobe Story - over at the NVIDIA booth, we were showing a technology preview with quiet undertones.  It didn’t have the name Mercury and it wasn’t even really the big thing we were showing.  However, John at FXGuide was over there and among several other tidbits, included Adobe in a podcast that he did over at the show. A month crawls along and during that time, the podcast starts to get some mentions in various forums and chatter amongst the creative crowd… People start to get excited about the possibilities and ask questions.  Here’s the high bandwidth version for your viewing pleasure.

Using Kuler Color Themes

Kuler online.

Perfecting Green Screen Photos

My friend Rufus Deuchler recently gave me a challenge. I started in video production working with virtual sets and chromakeying over a decade ago. I’ve used many different technologies over the years to remove green screens and blue screens, and found various techniques for preserving the original colors in the remaining video. However, I had never used Photoshop to do it before. It’s actually quite easy using the new Adjustments and Masks panels in Photoshop CS4.

Let’s start with a picture of Rufus, where the green has already been removed. Look at the color of the edge of the hair, and the side of Rufus’s face. It has a green tinge to it.

64 bit OS and Adobe products

I blogged on a tutorial from Event DV around editing workflows with AVCHD.  In that same issue, contributor Jan Ozer wrote an article called CS4 at 64 that delves into the differences that he observed between Adobe applications and how they perform differently between 32bit Windows XP and 64bit Windows Vista.

NLEs: How Native Workflows Help You Save

I recently received the latest issue of Event DV, which is an excellent magazine with some solid writers.  Each month they’ve got some excellent contributions from Photoshop wiz, Lance Gray and an editorial from Jan Ozer.

Event DV also has a recurring tutorial called Cut Lines which represents how to do things with Apple’s Final Cut Pro. It too is good, but I can’t help but often compare how things are done in Premiere Pro (call me biased.

This month’s article was about how to edit AVCHD content.  If you’re curious to read the article, you can view it here.

Author Joe McManus does a very good job of outlining the basic steps to editing content inside of FCP as well as outline one potential technical pitfall that he encountered.

BUT….

Premiere Pro C4 and After Effects CS4 Workflow Using the NEW Native RED R3D Plug-in

The RED Importer plug-in provides full native support of RED raw files including the ability to work with RED media at resolutions from 256 up to 4k. RED files can be imported directly into Premiere Pro and After Effects and worked with in a variety of frame rates, aspect ratios and resolutions. Dynamic Link can be used to serve frames directly from Premiere Pro to After Effects and sequences can then be exported using the Render Queue in After Effects.
Resolution can be assigned for RED footage as desired by accessing a global RED Source Settings dialog in Premiere Pro. For example, a low-resolution setting such as 512 or 1k can be assigned to RED media with higher native resolution. Lower resolutions provide increased playback performance during editing. Later, when editing is completed, a higher resolution sequence can be created and clips can be reset to higher native resolutions, such as 4k, for high quality export, grading and effects workflows .

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